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Craig Ozancin

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Everything posted by Craig Ozancin

  1. I found a solution that seems to work well. I ended up creating new header styles for each section based on header1. I set the color there. This is a slight improvement over @v_kyr's suggestion. In my TOC, I added these additional header styles. Publisher then dynamically created the addition TOC styles. I then edited each and changed the based on to the specific header type. Now my Table of contents is showing the different colors of the various sections. It was a bit of a learning curve but now it is fully dynamic. I change the color at the individual header styles and the section title changes as well as the TOC. Just need to be carful not to change the TOC contents much.
  2. Unfortunately, that makes it more effort if I decide to change the colors. For now, I am creating swatches for my colors. Before publishing, I will apply locally the colors. Do wish there could be an checkbox in the TOC styles to use the reference color. That way, I can change the color of each heading and regenerate the table of contents for get the changes. Oh well, wishful thinking for now.
  3. Over the years I have collected a number of food recipes. This week I decided to use Affinity Publisher to create recipe book. My design has the following: recipes are divided into major cooking categories (beef, pork, seafood, and so on) each category is started with a banner page followed by the recipes in that category each banner page will show the category name and table of contents in that category each recipe name will be based on an updated header2 each category name will be based on an updated header1 but will each have a unique color that represents the category (beef is red, pork is tab, seafood is blue, and salad is green) So far everything is looking fantastic (I love the fact that you can have multiple table-of-contents based on sections) I have a main table-of-contents at the top of the book. It lists all categories followed recipes. Looking at how other recipe books have formatted their main table-of-contents, I have noticed that many also use the unique category color idea. However their table-of-contents see be bee picking up that unique category color. This looks much nicer that the traditional black-and-white look. I have searched through Publisher and cannot find a way to do this. Is this currently possible? If not, this would be a great feature request. Maybe a checkbox in the TOC styles to pickup the color from the reference.
  4. I did a quick Google search and found a few good YouTube videos on removing Lens flare in Photoshop. My favorite was this one: This technique should work equally well in Affinity Photo.
  5. I second this. Being able to quickly look at the tutorial at the top of this thread and see what was new or update from the date tags was very useful. I don't always read every post to this thread. I could have easily missed you soft proofing update and never have known about it.
  6. The short answer to this is yes you can do this. In Lightroom, goto preferences/external editing. Here you can add Affinity Photo as an Additional External Editor. With Affinity Photo 1.5, you can now round trip tiff files. This means from Lightroom you can edit in Affinity photo and when saved will show in Lightroom.
  7. when I originally posted the before and after images, it was pointed out to me that the color looked off. After looking at them, I agreed that what was posted did look off. However, the images in AP look fine. Today, I decided to revisit this issue. When I exported them, I missed setting the color space to sRGB. On my mac, they looked fine. However posting them to the Affinity website caused issues. This can happen as they would have had to be converted to sRGB. The color space apparently was Adobe RGB. I have reexported the images with the correct color space. Hopefully they look better. :) I should have known better lol
  8. This is similar to what I ended up doing. I was able to avoid the gray blotches by fine tuning the selective color and adjusting the mask. I also had to finish it on the low frequency layer to even out the remaining red. This was a shoot I did for a client a few years ago. They had three children. The two middle kids both had red skin. This lads was the worst.
  9. I agree. Ideally it would be nice to be able to target the red skin specifically and also be able to adjust overall skin color.
  10. You have touched on the purpose of my original post. Without a method of targeting just the narrow color range of the red skin, the HSL or selective color adjustments will also alter the color of the normal red skin. You had to add a duplicate layer set to multiply blend mode to compensate for this. The down side is that the result is an image of a subject that appears to have a darker complexion than they have in real life.
  11. Not bad. I am really appreciating the blend options in AP. They are much more versatile than the blend-if sliders in PS. I would still use a mask layer to stop the adjustment from affecting the lips. I am also curious as to why you used a duplicate layer set to multiply bend mode. Typically I will do this to blast the contrast or darken the skin. It is a common technique for darkening a tan.
  12. This is out of the camera. I did do a color balance using a color checker passport so I feel pretty confident there. The only thing that could possibly account for extra red is the lad spilled some red fruit punch. It may have gotten into his collar. My main reason for this post was to open discussions regarding the inability to narrow the color range for red skin. Coming from Photoshop, this is a 30 - 60 second adjustment. In Affinity Photo it took considerably longer. I was curious if anyone else had found a usable solution. The images I posted are very quick edits and far from finished edits. Just enough to show what I am attempting and what I had found.
  13. I have stopped using the NIK tools. They are no longer supported by google. Any bugs are likely to remain unfixed.
  14. MBd I agree with what you are seeing. If I compare the jpeg I exported, there is a color shift from what I see in Affinity photo. I am not sure why. I see it as a greenish/gray .
  15. On a side note, this lad managed to spill some red punch on his sweater just before the the shoot. I was able to remove the red by using a pixel layer with the blend mode set to color, select the color from and unaffected area and point the red out. I then used a curve set to soft light and painted white over the wet areas that where showing darker.
  16. I didn't notice that when I posted the picture. The greenish tint isn't present in Photo. It must have been added during export of the jpeg.
  17. Thanks MBd. MJSfoto1956, I have attached two images. One is a pretty much unedited version. The other contains my edits. One final think I did do, was to paint out some of the minor blotches in frequency separation (low frequency) that I didn't get with the selective color adjustment.
  18. Now that Affinity has release version 1.5, I am seriously evaluating if it can move to my go to application for retouching. I shoot food, product and editorial portrait photography. Overall, my impression is very positive. In fact when it comes to combining multiple macro images where I have walked the focus point from front to back of the subject (common for food and product photography), the focus merge is amazing. As I go through a number of my portrait images to see how Affinity photo stacks up, I am pretty pleased. I can easily do blemish touchups, frequency separation, and dodge / burn. However, there is one area that has proven to be somewhat lacking (at lease for me). This is in the area of removing red skin / blotches. I have seen a number of others ask about this as well on the forum, but really receive a usable answer. Here is what my experiments have found. The most common method for removing red skin in PS is to use the Hue/Saturation Layer. You fine tune the color selection to target the red skin. For Affinity Photo, the HSL adjustment does not have this type of color targeting. Okay, that means there targeting needs to be done through selections / mask layers. From reading posts in the forum, I have found the following to suggestions: 1) The selective color adjustment is better as it give you more natural results. I agree with this. Given the level of control, you can really get (in my opinion) much more pleasing results. However, the selective color adjustment still requires you to target the specific range of red skin. Without this, it will target all red including normal skin shades. 2) You can use the “select sampled color” control under the selection menu to target specific shades of read. This sounds like exactly what I was looking for. However, in practice, I found this to be much more difficult that it was usable. For one, you can only make this selection using marching ants. There is no way of identifying if my selection also includes areas where the red skin is starting to blend with normal skin color. Second I found that as I moved the tolerance slider, areas of skin color were being selected before other areas that where closer to the target color. I finally gave up trying to use this. In the end, I finally was able to obtain the results I desired by using either the HSL or selective color adjustments in conjunction with a mask layer where made the selection by had with the brush tool set to 5% - 10% flow. This required a lot of fine-tuning around the edges to make it blend properly. This did add considerable time to my workflow. I would love to hear what others have found when removing red skin. Am I missing something? This would be an excellent topic for a tutorial. J Overall I really like the Affinity Photo experience. It really does bring some advantages with it. This is the only area that has caused me any real discomfort. I do with there where shortcut keys for setting default colors and flow.
  19. Realistic shadow are fairly complex. This video by Aaron Nace of phlearn might help. You will need to translate it to Photo. https://youtu.be/med_7bUSHpo
  20. James, I want to thank you for the effort and quantity that you put into making these trying videos. They are invaluable.
  21. As a food photographer, this is a huge deal breaker for me.
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